The 2 nd Law

1. The 2nd Law 2010-13517 성석현

2. Trope • Literary Tropos : Memeticsof Creativity • “standardized method of constructing or treating an argument” • The Way of the Hero • Recurrent literary devices that can carry common meaning

3. Development of Game Tropes • Limitations of technology, knowledge, techniques, money, time, etc… force concessions in game design and development • A sharp divide between reality and a game world. • Creation of mechanics and boundaries to control action and narrative • Unconscious acceptance of the ridiculous and weird.

4. ?

5. Trope Inversion • Denial of the expected, a rejection of archetypes and ideas

6. 2.5D • Gameplay in 2D Plane with 3D graphics

7. Extending beyond 2.5D but below “True” 3D

8. Beyond 3D

9. 3 “Spatial” Dimensions, 1 “Temporal”? • Space and time merely abstraction in video games, attempt at reproducing reality • 2d, isometric, overhead, 3d, 3D+3D • Real-time, turn-based Realtime + turnbased Realtime + pausing • Controlling Time

10. “Sensual” Dimensions • Primary – Sight, Hearing • Color, Shape, Movement • Ambient sound, catchy music • Evoke specific feelings, emotion, ideas • “Human Dimension” • Empathy, sympathy, emotional attachment, investment • Love of fictional characters, mourning over virtual death and loss, paying for virtual goods

11. Blur the line between reality and the game

12. Blur the player’s concepts of the game based on real-world experience

13. Enable consequential choice both in narrative and gameplay • Not this This

14. Game Idea • 2.5D game with 1st person perspective /3rd person overhead option • Combat based on manipulation of energy, time and space • No points, no HP, no levels • Time vs. Skill vs. Intuition/Ingenuity • Blur line between possibility within reality and in the game

15. Heat Manipulation • Able to suffuse or siphon heat from enemies and environment • Deflect attacks, weaken enemies made of certain materials by heating or cooling them • Use of infrared to see target temperature differential

16. Electromagnetic Manipulation • Use of electricity to stun enemies, affect environment • Use of magnetism to draw, push objects and enemies • Can render enemies vulnerable to other attacks.

17. Time Manipulation • Create sphere of altered time • Conservation of energy in accelerating/decelerating objects • Affects player’s perception of time • Slow time -> “low” temperature • Fast time -> “high” temperature • Does not effect electromagnetic abilities which travel at c

18. Space Manipulation • Curving space, redirection of attacks, electromagnetic attacks, no effect on heat • Teleportation/Portals? • Reduction of distance, dimension manipulation. Force certain player perspectives

19. Visual/Audial Manipulation • Create illusions to trick, draw in enemies • Anti-player, hilarity • Graphic artifacts (Channel change: HIDEO) • AnasituationalPavlovian sound cues (Sound of item drop) • Subtle, gradual color change (cool to warm colors)

20. Combination of mechanics into adaptive playstyle • Spacetime + energy + physical attacks • Heating up metal knife, use time sphere to slow enemy, use space curving to attack behind, burn cloth, etc… • Go into 1st person perspective, spot water tank, attack support beams, douse enemy in water, use teleportation to get on high ground, electrify enemy • Or just hack and slash mindlessly

21. Player Character • No visible “HP” • “Energy based”Hunger Meter • Eat food to fill • Undereating, overeating, affects metabolism • Vomiting, food poisioning, necessitates high quality food • Regulates body temperature and repair • Enemies and environment increase/decrease body temperature, extremes can cause death • Damage affects body parts • Legs: Slowed movement, no jumping • Head: Altered vision, no hearing, altered senses

22. World System • Weapon has single energy meter constantly replenished by limited resource that is also currency, narrative plot item, consumable item • Idea of “Self”, “Conservation”and “Production” • Can absorb energy to replenish energy meter • Perma-Death, possibility to escape always available at the cost of character’s integrity in narrative. Effects only narrative and not gameplay.

23. Objective • Challenge player’s preconceptions and knowledge of game tropes using adaptive combat system and perhaps even narrative • Taking advantage of the Game Map, leading players to wrong “destinations” based on their “directions” • Offer choice in approach. Balance is created by player.